Posts Tagged ‘Peter Greenaway’

Greenaway & his collaborator Istvan Horkay

Peter Greenaway came to GOMA cinematheque in the context of the Brisbane Festival.  It was an entire event with a lead up with projections of early short movies and some long feature films (see previous post ‘Water Wrackets’).  I was happy to watch the 2 hour-film condensed version of  Tulse Luper before the actual VJ performance. I walked out feeling that it would be greater to see this dense layered work on DVDs or/and as a television series with possibilities of pausing and digesting the material in our own rhythm! As the visual quality was as sophisticated (worked with his collaborator Istvan Horkay) as the narrative.   Then, I saw the VJ performance, pretty wild, fast paced and very loud, with 3-screen projections on either side of the huge hall.  Recognising the material seen previously, I was wondering how it felt for people who didn’t….  Is impact of speed and volume greater than the content?  I was attracted by the LED screen at the end of the hall, featuring the titles of each chapter/suitcase but also interfacing with the outside night lights of Brisbane shining through it!  Greenaway started the performance with a 10-minute talk which is resumed in this interview.

“Cinema is dead since 1983 with the invention of the remote control” says Greenaway.  I would say maybe for the linear narrative cinema (although Tulse Luper has a narrative and linearity)?  As for me there is an entire form which had developed since the 1920’s with Russian constructivism, non-narrative cinema using the power of  the frame, endless possibilities of analogies underlined by visual and rhythmical compositions and 1983 was also the year of Koyaanisqatsi by Reggio, opening technical possibilities (new lenses and various speed: timelapse and very slow motion) but above all allowing audience feeling and perception to interpret this apology of humankind without words!  Yes, the remote control gave access to skip, surf, jump cuts but the frame of the screen is mostly thought still as bi-dimensional while I am very interested to know more about its mobility and tri-dimentionality, ackowledging the “immersion” given by the depth of field of the projection… pondering, pondering….. I’d like to know more about interesting VJ artists, who use interfaces to layer contents in a meaningful way vs gimmickry!  Do you have links, info, suggestions?


090909, peter greenaway & online performance experiments (from paris and munich)

Cool, 090909 finished!  20 hours marathon, which was about 26 hours for me (with 4hours sleep) between last rehearsals, making last minutes media, recording, performing and watching other performances (I love to take part as an audience member)!  Briefly: interesting new drawing possibilities with the performance LINES (bravo Ben Unterman and team from Canada), effective and sobre animations in SMITHS,  beautiful graphics and sounds in MAUI.  I didnt see all of SNOW WHITE but enjoyed watching part of this twisted version.  Interesting to have at time some provocative thoughts in audience chat.

Last week, I heard an interesting and entertaining talk at writers festival about science-fiction & science! Believable or not, true, non-humans, future of our imagination,…
Saw some early films by Peter Greenaway on Sunday. We are lucky: big retrospective at GOMA cinematheque. Inspiring and also funny to see how some specific interests are still in the air: frame and rhythme / narrative & absurdity & surrealism……. “water wrackets” good treat for the eyes.
In “The Draughtsman’s Contract”, the frame in the frame (perspective drawing viewer in foreground of the filmic frame) is still stirring thoughts about the container, the contained, the abyss/huis clos, also how people move laterally in and out of the frame, like sliding doors.

Brisbane Festival started with an exhibition of LAND by Ulf Langheinrich, experiential digital field, like a macro imagery of particles forming, deforming and reforming spaces.  Powerful and hypnotic, I wished I could walk through this landscape, instead of being seated frontally.  “Genesis” (showing of a work in progress) with its multi-layered projections, although still needs to develop in terms of dramaturgy and playtime for devising, offered already clear and rich propositions.  I enjoyed this clarity and the openness for audience interpretation.

I am participating in the the last theater show ever experiment, preparation phase, opening dialogues…
Annie Abrahams mentioned an
interesting theater experiment at parhasards.fr the whole theater show organised from Théâtre La Villette in Paris takes places on the Internet.
Am in Sydney at the SEAM symposium, so will continue writing in the “travel” space of the blog.